1. Bell Ringer 1/27
Please get out your books and your 2nd Langston Hughes Graphic Organizer (“Dream Variations” and “Refugee in America”).
Please answer the following question with someone sitting near you:
How does the imagery in “Dream Variations” affect the poem’s interpretation and tone?
Be able to discuss when class begins.
Have specific examples ready.

2. Bell Ringer 1/27
Please get out your books, your Harlem Renaissance handout (with the Hurston questions), and turn in your books to pg. 914.
Please discuss the following question with a partner:
How would you describe Hurston’s personality as a girl? Use specific details.
2, 3

3. Bell Ringer 1/27
Please get out your books, your Langston Hughes graphic organizers, and sit with your partners.
Turn to pg. 929 and begin analyzing the poems.
“Dream Variations”
“Refugee in New York” 4

4. Bell Ringer 1/27
Please get out your books and your Langston Hughes graphic organizer.
Answer the following question with someone sitting near you:
Who is Ardella? What do you know about her from the poem?
Be ready to discuss when I get done with taking attendance. 7

5. Bell Ringer 1/27
Please get out your books, your Langston Hughes graphic organizers, and sit with your partners.
Turn to pg. 927 and begin analyzing the poems.
“The Negro Speaks of Rivers”
“Ardella” 9

6. English III
EQ: How can we give strong and thorough evidence for our inferences and conclusions about the poetry of the Harlem Renaissance?
Agenda
Bell Ringer/Discussion
Agenda/EQ
Dust Tracks on a Road by Z.N. Hurston
Langston Hughes
Read Poetry/Create Graphic Organizers
Claude McKay
Read Poetry/Create G.O.
Type 2 Writing

7. Langston Hughes “The Negro Speaks of Rivers” & “Ardella”
What conclusions can we draw about the speakers in these poems?
Get a piece of lined paper
Fold in half (Side 1 = “The Negro Speaks of Rivers,” Side 2 = Ardella)
Column 1 (on both sides) = Conclusion about speaker
Column 2 (on both sides) = Specific Line/Word (with line # from the poem)
Bottom Section – Imagery
List the Imagery in the poem

8. Langston Hughes #2
Repeat the process for creating the graphic organizer for “Dream Variations” and “Refugee in America.”
Follow the example on the board.
Don’t forget to list ALL the imagery you find.
List specific words/lines with their line numbers.
If it helps, break the conclusions down to answer the questions who, what, where, when, and why.

9. Claude McKay
Make the same graphic organizer that you made for Langston Hughes (see board).
Turn to pg. 930, “The Tropics in New York” by Claude McKay.
Analyze the poem (conclusions about speaker, proof from text, imagery) on the front of the graphic organizer.
On the back, answer the following question with a paragraph:
What can you learn about the speaker in Claude McKay’s “The Tropics in New York” by examining the poem’s imagery?
Use quotes from the poem to support your main idea.
Be thorough – use multiple quotes from throughout the poem.
Make sure you explain all proof so that any reader could understand your points.

10. Bell Ringer 1/27
Please get out your Re-written dramatic structure (homework for Friday) and your expanded story based on that dramatic structure so that I can check it.
If you were here on Friday, I already collected these things.
Answer the following questions:
Why do good writers include transitions in their stories?
What kinds of information do transitions normally include?

11. Creative Writing
EQ: How do authors use pace and sequence to build a vivid, engaging, coherent story that works towards a particular tone and outcome?
Agenda
Bell Ringer – Homework Check
Agenda/EQ
Sharing Our In Medias Res stories
Transition Words and Phrases
What types of transition could you possibly need?
What kinds of words and phrases are need for each type?
What should you avoid when creating transitions in stories?

12. Transitions
Scene transitions need to identify place, time, and viewpoint character, especially if there’s been a change in any of the three. If the new scene has a change in mood, tone, or pacing, that should also be established right away.
If the viewpoint character has changed, identify the new viewpoint character right off by naming him.
Time and place can be established in any number of ways. By
naming the place
describing the place
describing the event
mentioning the time or day or date
showing a character doing something we already knew he’d be doing at a set time or in a particular place